would be in correct sequence". Lastly, the verses Luke 11:1–17:11 between A and B are not part of Jesus's journey to Jerusalem, Ogg contended: "Essentially Luke xi. 1—xvii. 10 is a record of activities of Jesus during his ministry in Galilee, Phoenicia and the Decapolis and prior to his final departure from Galilee for Jerusalem." Depictions in art The episode is mostly found in the life of Christ in art from the Counter-Reformation onwards, especially in the 17th century, when the domestic setting is usually given a realistic depiction, and the subject appears as a single work rather than in cycles of the Life of Christ, or the life of Mary Magdalene. However, it appears in some Ottonian manuscript cycles, including the one in the Pericopes of Henry II (c. 1002–1012), where it is given a hieratic architectural setting. Many paintings show Mary washing, or just having washed, Jesus's feet, recalling the story in John 12.1–8 (which seems to be about Mary of Bethany). Via the story in Luke 7.36–50 (about an unnamed 'sinful woman'), however, Mary of Bethany was often conflated with Mary Magdalene, and this too may be reflected in art. Artists depicting the subject include Velázquez, Rembrandt, Vermeer, Caravaggio and Rubens. Individual works with articles include: Christ in the House of Martha and Mary – an early work by the Spanish painter Velázquez Christ in the House of Martha and Mary – by Vermeer Martha and Mary Magdalene – Caravaggio Depiction in literature Rudyard Kipling's poem "The Sons of Martha", Kipling defends people who dedicate themselves to work like Martha. In his book The Doors of Perception, Aldous Huxley alludes to the story of Mary and Martha, addressing the distinction between what he terms "the way of Mary" and "the way of Martha". Huxley notes that, during his experiences with mescaline, time seems to stand still, and contemplation—the way of Mary—rules the day. Quotidian cares fall to the wayside. In one passage, Huxley writes, "Mescalin opens up the way of Mary, but shuts the door on that of Martha." In the novel Time Enough for Love by Robert A. Heinlein, the character Minerva says, "I am a Martha, Lazarus, not her sister Mary." This, as a response to another character's attempt to describe her appearance, is a testament to her pride in being practically minded. In the novel The Handmaid's Tale by Margaret Atwood, the women servants